LEVEL | MIC | 1 |
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CHANNEL STRIP FEATURES
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LPAN R
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OVERVIEW
The channel strips are independent of each other, and allow you to adjust, tweak and otherwise beautify the sound coming from your different microphones, guitars and other in- struments. The Faders and Pans let you adjust how much of each channel is sent to the main mix. The Auxes let you adjust how much of each channel goes to your stage monitors or out to external or internal effects.
The channel strips come in two flavors: Mono and Stereo. In addition, the DFX•12 has two
16. GAIN
If you haven’t already, please read “SET THE LEVELS” on page 5.
The GAIN control adjusts the input sensitivity of the mic and line inputs on each channel. This allows signals from the outside world to be adjusted to optimal internal operating levels.
Through the mono channel MIC (XLR) in- puts, there is 50 dB of gain fully up. For stereo channel MIC inputs, this is +40 dB.
Through the mono channel LINE IN (TRS) inputs, there is 20 dB of attenuation fully down and +30 dB of gain fully up, with a “U” (unity gain) mark halfway up. The stereo channel LINE INs have a maximum gain of +20 dB.
Having 20 dB of
17. LEVEL SET LED
This LED (Light Emitting Dohickey) lets you know that the signals going into the mixer are adjusted to the correct level, not too strong
18. LOW CUT
The LOW CUT circuit, often referred to as a
We recommend that you use LOW CUT on every microphone application except kick drum, bass guitar, or
2-BAND CHANNEL EQ
The DFX Mixers use “shelving” equalization. This boosts or cuts all frequencies past a specified frequency. For example, turning the LOW EQ (20) knob clockwise will boost the bass frequencies at 80 Hz and below.
Although you can bring sound to life with proper EQ, you can also mess things up. If you max the EQs on every channel, you’ll get mix mush, not to mention driving your mix levels near or beyond clipping. So equalize subtly; use cut as well as boost.
Adjusting the channel EQ will affect your main mix and the AUX 2/EFX (8) output, but not the AUX 1/MON (7) output.
19. HI EQ
This control provides up to | +15 |
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at 12 kHz and above. There is | 0 |
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Use this wisely to add sizzle to cymbals or an overall sense of transparency or edge to keyboards, vocals, guitar, and bacon frying. Turn it down a little to reduce sibilance or hide tape hiss.
20. LOW EQ
30
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OO
Mono Channel
12
to cause distortion and not too weak to be lost in noise.
After you connect a microphone or line-
level component to the mixer, do a sound test and adjust the GAIN (16) control until this handy LED flickers just occasionally. If it is glowing constantly, turn the GAIN down. If the LED is doing almost nothing, turn it up.
This control provides up to 15 dB of boost, or 15 dB of cut at 80 Hz and below. There is no boost or cut at
the center detent position. 20Hz100Hz1kHz Frequencies of 80 Hz and
below represents the punch in bass drums, bass guitar, fat synth patches, and
While adding boost, also engaging the LOW CUT (18) switch can create an audible low frequency boost without boosting stage rumble,
LOW
10kHz 20kHz